La notion de ‘test syntaxique’ dans les grammaires de la première moitié du 20e siècle

2002 ◽  
Vol 25 (1) ◽  
pp. 49-70 ◽  
Author(s):  
Peter Lauwers
Keyword(s):  
Quantitative Analysis ◽  
20Th Century ◽  
The Other ◽  
Strong Tendency ◽  
Linguistic Form ◽  
Scientific Rigour ◽  
Other Hand ◽  
The One ◽  
Traditional Grammar ◽  
Historical Sketch

Summary Since the dawn of structuralism and generativism, linguists have not ceased to criticize a lack of scientific rigour in «traditional» grammar. Nowadays, the scientific character of syntax crucially depends on the use of syntactic tests. It appears, however, that this concept was not completely absent in traditional grammar. After a brief historical sketch of the emergence of the notion of syntactic test in modern linguistics, this contribution offers a typology of syntactic tests found in a corpus of 25 reference grammars of modern French, published in the first half of the 20th century. The bulk of syntactic tests cannot be separated from the notion of paraphrase, which in traditional grammar was partly used as a heuristic means, very often without the necessary control of linguistic form. As the quantitative analysis of the phenomenon in this study shows, the typology should not suggest that the notion of syntactic test was a dominant concept in traditional grammar. In addition, the perception of the concept of ‘syntactic test’ by the grammarians themselves is rather negative, because of a strong tendency towards, on the one hand, a ‘semanticization’ of grammar, and on the other hand, to ‘didacticization’ of the syntactic description. These two tendencies run counter to the later evolution in syntax, which emphasizes the argumentative value of manipulating utterances in order to establish non-aprioristic syntactic categories.

scholarly journals DET ZOOFILE ÅRHUNDREDE

1996 ◽  
Author(s):  
Anne Knudsen
Keyword(s):  
20Th Century ◽  
Moral Status ◽  
Logical Consequence ◽  
The Other ◽  
Other Hand ◽  
The Status ◽  
The One ◽  
Point Of Departure

Anne Knudsen: The Century of Zoophilia Taking as her point of departure the protests against a dying child having his last wish fulfilled because his wish was to kill a bear, the author argues that animals have achieved a higher moral status than that of humans during the 20th century. The status of animals (and of “nature”) is seen as a consequence of their muteness which on the one hånd makes it impossible for animals to lie, and which on the other hånd allows humans to imagine what animals would say, if they spoke. The development toward zoophilia is explained as a a logical consequence of the cultural naturalisation of humans, and the author draws the conclusion that we may end up entirely without animals as a category. This hypothetical situation will lead to juridical as well as philosophical complications.

scholarly journals PEMIKIRAN JAMALUDDIN AL-AFGHANI (JAMAL AD-DIN AL-AFGHANI) (1838 – 1897 M)

2017 ◽  
Vol 13 (1) ◽  
pp. 9-24
Author(s):  
Akmal Hawi
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
The Other ◽  
The West ◽  
Unique Position ◽  
Islamic Reform ◽  
Other Hand ◽  
The People ◽  
The One ◽  
The 19Th Century

The 19th century to the 20th century is a moment in which Muslims enter a new gate, the gate of renewal. This phase is often referred to as the century of modernism, a century where people are confronted with the fact that the West is far ahead of them. This situation made various responses emerging, various Islamic groups responded in different ways based on their Islamic nature. Some respond with accommodative stance and recognize that the people are indeed doomed and must follow the West in order to rise from the downturn. Others respond by rejecting anything coming from the West because they think it is outside of Islam. These circles believe Islam is the best and the people must return to the foundations of revelation, this circle is often called the revivalists. One of the figures who is an important figure in Islamic reform, Jamaluddin Al-Afghani, a reformer who has its own uniqueness, uniqueness, and mystery. Departing from the division of Islamic features above, Afghani occupies a unique position in responding to Western domination of Islam. On the one hand, Afghani is very moderate by accommodating ideas coming from the West, this is done to improve the decline of the ummah. On the other hand, however, Afghani appeared so loudly when it came to the question of nationality or on matters relating to Islam. As a result, Afghani traces his legs on two different sides, he is a modernist but also a fundamentalist. 

scholarly journals Ambiance of slowness. Brussels commercial gallery of the latter half of the 20th century

2019 ◽  
Vol 64 ◽  
pp. 03001
Author(s):  
Claire Pelgrims
Keyword(s):  
Case Studies ◽  
20Th Century ◽  
Spatial Segregation ◽  
The Other ◽  
Other Hand ◽  
Sensory Motor ◽  
Transport Modes ◽  
The One ◽  
Motor Effects

In this paper, I study the sensory-motor effects of Brussels commercial galleries’ ambiance in the latter half of the 20th century. The analysis of two case studies (“Deux Portes” networked galleries and Agora Gallery) reveals the different logics of slow mobility acceleration and immobilisation at stake in the emerging modernist grammar of slow mobility. This grammar-in arrangement with the grammar of fast automobility − structures and stabilises the design of spaces for slowness next to the roadscape in spatial segregation of transport modes. There are accelerating and decelerating sensory dispositifs that define galleries both as punctual destination spaces that capture passers-by and as alternative paths for pedestrians: logics of multifunctionality, fast mobility accessibility and setting of an ambiance on the one hand, and logics of securement, spatial and qualitative continuities, on the other hand. Accelerating and decelerating dispositifs and logics facilitate movement to better keep the consumer captive. Then, I discuss the possible contribution of iconographic archives in research about past ambiances. They effectively acknowledge sensory- motor effects of ambiance but do not constitute an autonomous corpus to grasp sensitivity and reshape past ambiances.

scholarly journals Zachowane cechy dialektalne oraz wpływy polskie w rosyjskiej gwarze przedstawiciela starszego pokolenia staroobrzędowców regionu augustowskiego

2015 ◽  
Vol 34 ◽  
pp. 157-167
Author(s):  
Michał Głuszkowski
Keyword(s):  
20Th Century ◽  
The Other ◽  
Region Of Origin ◽  
Old Believers ◽  
Other Hand ◽  
Pskov Region ◽  
Polish Language ◽  
The One ◽  
North Western

Preserved dialectal features and the Polish influence in old believers' dialect on the example of a representative of the older generation in the Augustów regionPolish Old Believers constitute a bilingual ethno-cultural minority.Their bilingualism has developed especially in the 20th century, and since then it has been modified under the influence of Polish language. On the one hand, there are Polish borrowings, insertions and loan-translations in Russian Old Believers’ dialect. On the other hand, the Old Believers have preserved many dialectal features from their region of origin – Pskov region in north-Western Russia. The author attempts to reveal, how many and which Pskov language features are still present in the Old Believers’ dialect. The analysis is basing on an idiolect of a representative of the old generation of the community of our interest.  Сохраненные диалектные черты и польское влияние в русском говоре представителя старшего поколения старообрядцев августовского регионаПольские старообрядцы составляют этнокультурное меньшинство. Их билингвизм стал развиваться начиная с ХХ столетия, и с тех пор их русский диалект подвергался особосильномувлиянию польского языка. С одной стороны, в старообрядческом говоре наблюдаются польские заимствования, вставки и кальки. С другой стороны, старообрядцы сохранили многие диалектные средневеликорусские черты. Данная статья является попыткой выяснить, какие черты диалектов из окрестностей Великих Лук, Пскова и Новгорода до сих пор существуют в говоре старообрядцев. Анализ опирается на идиолект представителя старшего поколения исследуемой общины.

scholarly journals Concertante techniques in Trois images by Ivo Petrić

2001 ◽  
Vol 37 (1) ◽  
pp. 103-112
Author(s):  
Niall O'Loughlin
Keyword(s):  
20Th Century ◽  
Large Scale ◽  
The Other ◽  
Violin Concerto ◽  
Avant Garde ◽  
Other Hand ◽  
The One ◽  
The Individual ◽  
Frank Martin ◽  
Movement Structure

The large-scale romantic concerto has been reevaluated by many composers of the 20th century. These have included Stravinsky, Honegger and Frank Martin, who have all tended to compose on a much smaller scale. One such work is Ivo Petrić's Trois images, a violin concerto dating from 1972-73. It displays an ambiguous approach to form, the relationships between the soloist and orchestra, the use of musical motives and the idea of the concerto. On the one hand, it has links with tradition in that it uses the title and three-movement structure of the concerto, the traditional relationships of dialogue, solo and accompaniment, development of motives and virtuoso techniques. On the other hand, it breaks with tradition by disguising the contrasts and separation of the individual movements, and transforming traditional concerto techniques for use in the freely coordinated idiom that the composer was using at the time. It proves to be an excellent example of how concerto techniques can be combined with the techniques of the avant-garde.

scholarly journals The linguistic sign: Metonymy and virtuality

2017 ◽  
Vol 80 (1) ◽  
Author(s):  
Adam Glaz
Keyword(s):  
Real World ◽  
The Other ◽  
The Real ◽  
Linguistic Form ◽  
Intimate Connection ◽  
Other Hand ◽  
Linguistic Sign ◽  
The One

Grounded in a rich philosophical and semiotic tradition, the most influential models of the linguistic sign have been Saussure’s intimate connection between the signifier and the signi-fied and Ogden and Richards’ semiotic triangle. Within the triangle, claim the cognitive lin-guists Radden and Kövecses, the sign functions in a metonymic fashion. The triangular semi-otic model is expanded here to a trapezium and calibrated with, on the one hand, Peirce’s conception of virtuality, and on the other hand, with some of the tenets of Langacker’s Cogni-tive Grammar. In conclusion, the question “How does the linguistic sign mean?” is answered thus: it means by virtue of the linguistic form activating (virtually) the entire trapezium-like configuration of forms, concepts, experienced projections, and relationships between all of the above. Activation of the real world remains dubious or indirect. The process is both meto-nymic and virtual, in the sense specified.

scholarly journals Ars invectiva und artifizielle Mündlichkeit: Schmähungen in Rom zwischen Schulbuch und scheinbarer Spontaneität

2021 ◽  
Vol 6 (1) ◽  
pp. 10-25
Author(s):  
Dennis Pausch
Keyword(s):  
The Other ◽  
Strong Tendency ◽  
Other Hand ◽  
Republican Rome ◽  
The One

Abstract This paper starts from the question of how the perception of an invective in Late Republican Rome is influenced, when it follows strictly the rules of the ars rhetorica. Since speaker and audience will have undergone the same rhetorical training, both sides have clear ideas about the rules of the genre, as they can be reconstructed from the surviving textbooks. At the same time, it can be shown on the basis of ancient evidence that insults were perceived not only more effective, but also as socially more acceptable if they arose unprepared from the situation – or if they gave exactly this impression. In the case of invective, thus, a speaker must make a special effort not to let his preparation become visible. For this purpose, he can, on the one hand, resort to the technique of artificial orality and apparent spontaneity and, in this way, take the usual dissimulatio artis to extremes. On the other hand, he can deliberately deviate from the rules of textbooks, resulting in a strong tendency of invective to a permanent innovation. This will be demonstrated by the example of some passages from Cicero's speech pro Caelio from 56 BC.

scholarly journals Six Thinkers in Search of the Author

2020 ◽  
Vol 5 (3) ◽  
pp. 44-67
Author(s):  
Ekaterina B. Kriukova ◽  
Oxana A. Koval
Keyword(s):  
Popular Culture ◽  
20Th Century ◽  
Point Of View ◽  
The Other ◽  
Philosophy And Literature ◽  
Privileged Position ◽  
Literature And Philosophy ◽  
Other Hand ◽  
The One ◽  
Modern Era

The article presents a survey of the 20th century intellectual quests related to the problem of the author and her status. The question of authorship becomes a key issue in the modern era for both philosophy and literature. On the one hand, both fields reflect upon the authorship as their own intrinsic principle, on the other hand, both literature and philosophy question the privileged position of the author as the sole meaning-maker. The undertaken comparison of the original interpretations of the prominent 20th century thinkers allows us: (1) to demonstrate how the ideological content of the concept itself has changed, the author being labeled as a co-participant, producer, collective subject, function within discourse, non-reader, and witness; (2) to introduce different strategies of understanding the author’s figure, depending on the chosen point of view; (3) to trace the logic of the transition from the modern to the postmodern through the explication of relations between the author and the character (M. Bakhtin), the author and his work (W. Benjamin), the author and popular culture (T. Adorno), the author and the discourse (M. Foucault), the author and the letter (M. Blanchot), and the author and the Other (G. Agamben).

scholarly journals Kaplice grobowe a współczesna kultura wizualne

Artifex Novus ◽  
2020 ◽  
pp. 80-97
Author(s):  
Bartłomiej Gutowski
Keyword(s):  
Visual Culture ◽  
20Th Century ◽  
The Other ◽  
Sensory Stimuli ◽  
Other Hand ◽  
Transcendent Experience ◽  
The One ◽  
Formal Solutions

Można wskazać wiele czynników determinujących formy grobowców wznoszonych na cmentarzach w drugiej połowie XX w. Po pierwsze, jest to specyfika miejsca silnie nacechowanego religijnym i duchowym kontekstem a zarazem świeckimi wpływami i ideami.  Po drugie, są nimi kulturowe i – dość często – historyczne uwarunkowania. W przypadku kaplic grobowych dominującą tendencją jest neomodernizm. Charakterystyczne jest poszukiwanie wzajemnych relacji pomiędzy przestrzenią, światłem, materiałem – współoddziaływania kształtów i symboliki, sprzyjającego indywidualnej kontemplacji. Wyraźnie czytelne jest dążenie do dematerializacji i podwójnego kodowania. Z jednej strony, zewnętrzny, fizyczny blok; z drugiej – jego wnętrze nakierowane na pozazmysłowe doświadczenie. Otwarcie na czysto zmysłowe bodźce, które wzmacniają odczuwanie doświadczenia „innego”. Przywołane w artykule obiekty odznaczają się oryginalnością form i – w pewnym stopniu – różnorodnością materiałów. Jednakże, o ile formalne rozwiązania odbiegają od siebie nawzajem, o tyle w zasadzie zauważamy wspólne dążenie do kreowania form, które pomagają nadać doświadczeniu śmierci indywidualny charakter. Tomb-Chapel and Contemporary Visual Culture Undoubtedly, there are numerous factors determining the forms of located at cementeries tombs built in the second half of the 20th century. Firstly, it is the specificity of the place strongly affected by the religious and spiritual context but also by atheistic concepts. Secondly, we encounter cultural – and quite often – historical conditions. In the case of tombs, the dominant tendencies are close to neomodernism. What is characteristic is the search for the interplay of space, lighting, materials and reflections – the interplay fostering individual contemplation with its shape and symbolic. The striving for dematerialization and double-coding is very clear. On the one hand, an external, physical block; on the other hand – its interior directed towards the transcendent experience. Open to purely sensory stimuli which strengthen the feeling of experiencing “the other”. The mentioned examples are characterized by originality of the form and – to some extend – diversity of materials. Insofar as, however, the formal solutions considerably differ from each other, we principally observe the pursuit of creating forms that help individualize the experience of death.

scholarly journals The Cantatas by Pierre Boulez in the Context of the Main Trends in the Development of Choral Composition of the 20th Century

2021 ◽  
Vol 11 (1) ◽  
pp. 21-38
Author(s):  
Aleksandr S. Ryzhinskii ◽  
Keyword(s):  
20Th Century ◽  
The Other ◽  
Important Place ◽  
Choral Works ◽  
Avant Garde ◽  
Work In Progress ◽  
Pierre Boulez ◽  
Other Hand ◽  
Choral Composition ◽  
The One

The article focuses on Pierre Boulez’s choral style in the cantatas “Le visage nuptial” and “Le soleil des eaux”. The versions of these works, created over the course of almost 40 years (from 1951 to 1989), represent a complex of techniques in regard to texture and timbre, which, on the one hand, are a continuation of experiments by composers of the New Vienna School (A. Schönberg, A. Webern), and on the other hand, they preface a number of innovations in the choral style of Boulez’s contemporaries (L. Nono, L. Berio, K. Stockhausen, I. Xenakis). Evidence is provided in favor of the idea that Boulez’s choral works were the logical link between the vocal and choral opuses of the composers of the first and second Western European avant-garde. The article examines the peculiarities of the interaction between the verbal and musical series, the specifics of the textural organization of Boulez’s works, and systematizes the information about the timbre techniques used. Links are identified between the heterophonic presentation typical of Boulez’s choral works and the use of quarter tone notation, glissando reception, and various variants of speech singing (Sprechgesang). The connections between stereophonic effects in the music of Boulez and Nono are traced. An important place is occupied by the study of vocal sound recovery or “vocal emission” technologies (as defined by Boulez). The significance of Schönberg and Webern’s experience in the formulation of the technical foundations of Boulez’s choral timbres is stressed. Special attention is paid to the problem of “work in progress” as one of the defining features of the composer’s choral heritage. Comparing the works by Nono, Maderna, and Bulez, the author concludes the different reasons for which composers came to the concept of “opera aperta” (U. Eco).

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